By universal consent, Picasso is the master of the modern school of Paris, the
leader of a group of international artists whose pictures transcend the con
fines of time and place, and in many instances, ignore the outward behavior of
He has consistently refused to traffic in the accepted emotional struggles
of men and women-his major interest is in the formation of pictures.
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Like the old scholastic philosophers, he has exercised his nimble intelligence on
the subtleties of methods and procedures, and thus has rightly become the
ruler of those who believe that painting, in its purest manifestations, is a
language of abstractions.